Gloriously witty adaptation of the Broadway musical about Professor Henry Higgins, who takes a bet from Colonel Pickering that he can transform unrefined, dirty Cockney flower girl Eliza Doolittle into a lady, and fool everyone into thinking she really is one, too! He does, and thus young aristocrat Freddy Eynsford-Hill falls madly in love with her. But when Higgins takes all the credit and forgets to acknowledge her efforts, Eliza angrily leaves him for Freddy, and suddenly Higgins realizes he's grown accustomed to her face and can't really live without it. Written by
During the film companies lunch breaks, Cecil Beaton would sneak onto the current sound stage set being filmed, set up an easel and board, sketching the standing set (scenery), adding color with time permitting, or adding watercolor washes and painting details in his studio lot office. Both Jack Warner and George Cukor had Beaton banned from the daily filming stage; as well, any Warner Stage that set construction, painting, set green and set decorating was in progress. After the film was finished, Beaton had an exhibition with his costume sketches, including these set illustrations, providing some evidence that he had designed the scenery, as well. In fact, Jack Warner had originally signed a contract with Cecil Beaton granting Beaton costume and art direction screen credits. The original New York, London, Chicago, and road show tour-stage scenery had been designed by Oliver Smith. George Cukor and Gene Allen (as Production Designer and Second Unit Director) had teamed on the Judy Garland and James Mason (1954) film musical "A Star is Born". Cukor insisted Gene would design all the "My Fair Lady" sets when he accepted the directorial assignment. In fact, Beaton was never allowed in nor near the film's art department. See more »
In the pub scene ("I'm getting married in the morning") none of the beer glasses are of British design. See more »
[sounds from crowd, occasionally a word or phrase, indistinct and mostly not associated with a character]
Don't just stand there, Freddy, go and find a cab.
All right, I'll get it, I'll get it.
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In the posters, playbills and the original cast album for the stage version of "My Fair Lady", the credits always read "based on Bernard Shaw's 'Pygmalion' ", letting the audience know what play "My Fair Lady" was actually adapted from. The movie credits simply read "from a play by Bernard Shaw". See more »
I think of this musical as revolutionary, startling, glaring, and visually out of this world. One of its scenes brings me to the state that I can only describe as "esthetical orgasm" if I ever had one. It is gorgeous, intelligent, and one of the most beloved and brilliant romantic comedies. It's got music that makes you want to dance all night, and it's got an actress who possessed class, style and the kind of beauty and charm that would never be reincarnated after she was gone. "My Fair Lady" (1964) directed by George Cukor is a great musical but is perfect no matter what genre you are looking at - Comedy / Family / Musical / Romance / Drama - it's got something for everyone - for all ages, for all eras, for all countries, for all continents. I have a friend. We almost never agree upon any movie - anything I like he would usually stamp as "rubbish". There is not too much to reply to this argument but when we both watch the "Opening Ascot races" scene in "My Fair Lady" with its harmony in white-black-gray (and who knew that color gray has so many shades and nuances), and then the harmony gets slightly distorted by Henry Higgins's brown suit and then as apotheosis, Eliza appears in an incredible black/white dress with a tiny red bow which completes this harmony, this feast of colors (and there are only five of them but you would think there are myriads) and that little bow is a last stroke, the stroke of a visual genius and that is magic...Every time during this scene I see the tears on my cynic-friend's eyes and I know that we both witnessed incredible moment created by the power of the human imagination.
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